500 poses for photographing group portraits

Amherst Media®
publisher of photography books
500
Poses for
Photographing
Group
Portraits
A Visual
Sourcebook for
Digital Portrait
Photographers
Michelle Perkins

My deepest thanks to the photographers whose work appears in this book. Their powerful images are truly inspir-ing—
as is their commitment to educating other professionals. If you have a chance to learn from them, whether at a
workshop or through their writing, take it; you won’t be disappointed.
And, as always, love and gratitude to my talented husband—a constant source of love and inspiration.
Copyright © 2013 by Michelle Perkins.
All rights reserved.
Front cover photographs by Christie Mumm (large photo) and Brett Florens (inset photos).
Back cover photograph by Brett Florens.
Published by:
Amherst Media, Inc.
P.O. Box 586
Buffalo, N.Y. 14226
Fax: 716-874-4508
www.AmherstMedia.com
Publisher: Craig Alesse
Senior Editor/Production Manager: Michelle Perkins
Assistant Editor: Barbara A. Lynch-Johnt
Editorial Assistance from: Sally Jarzab, Carey Anne Miller
Business Manager: Adam Richards
Marketing, Sales, and Promotion Manager: Kate Neaverth
Warehouse and Fulfillment Manager: Roger Singo
ISBN-13: 978-1-60895-552-7
Library of Congress Control Number: 2012936517
Printed in Korea.
10 9 8 7 6 5 4 3 2 1
No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical,
photocopied, recorded or otherwise, without prior written consent from the publisher.
Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The author
and publisher will not be held liable for the use or misuse of the information in this book.
Check out Amherst Media’s blogs at: http://portrait-photographer.blogspot.com/
http://weddingphotographer-amherstmedia.blogspot.com/

Designing outstanding portraits of a single subject can
be a challenge, but the complications are compound-ed
with each subject that is added to the frame. Not only
must each subject look good individually, but the group
must also look good collectively. Additionally, the relation-ships
between the subjects often need to be established
through the posing and composition of the image.
This collection is designed as a springboard for facing
the many challenges of posing groups. Filled with images by
accomplished professionals, it provides a resource for pho-tographers
seeking inspiration for their own work. Stuck on
what to do with a particular group or unsure how to use
a given location? Flip through the sample portraits, pick
something you like, then adapt it as needed to suit your
tastes. Looking to freshen up your work with some new
poses? Find a sample that appeals to you and look for ways
to implement it (or some element of it) with your subjects.
For ease of use, the portraits are grouped according to
the number of subjects shown in the frame. Thus, the book
begins with groups of two, then moves on to larger and
larger groups—all the way up to images with more than
twenty-five subjects. (Note: Groups of two, probably the
most common portrait grouping, are more extensively cov-ered
in another volume in this series: 500 Poses for Photo-graphing
Couples).
About This Book
It can be difficult to remain creative day after day, year
after year, but sometimes all you need to break through a
slump is a little spark. In this book, you’ll find a plethora of
images designed to provide just that.
Contents
Groups of Two. . . . . . . . . . . . . . . . . . . . . . . . plates 1–44
Groups of Three. . . . . . . . . . . . . . . . . . . . . plates 45–196
Groups of Four . . . . . . . . . . . . . . . . . . . .plates 197–300
Groups of Five . . . . . . . . . . . . . . . . . . . . .plates 301–388
Groups of Six. . . . . . . . . . . . . . . . . . . . . .plates 389–415
Groups of Seven. . . . . . . . . . . . . . . . . . . .plates 416–443
Groups of Eight . . . . . . . . . . . . . . . . . . . .plates 444–457
Groups of Nine . . . . . . . . . . . . . . . . . . . .plates 458–462
Groups of Ten . . . . . . . . . . . . . . . . . . . . .plates 463–471
Groups of Eleven . . . . . . . . . . . . . . . . . . .plates 472–484
Groups of Twelve. . . . . . . . . . . . . . . . . . .plates 485–490
Groups of Thirteen . . . . . . . . . . . . . . . . .plates 491–494
Groups of Fourteen . . . . . . . . . . . . . . . . .plates 495–499
Groups of Fifteen. . . . . . . . . . . . . . . . . . .plates 500–506
Groups of More than Fifteen . . . . . . . . . .plates 507–524
Appendix: Posing Fundamentals . . . . . . . . . . . page 122
The Photographers . . . . . . . . . . . . . . . . . . . . . page 124
500 POSES FOR PHOTOGRAPHING GROUP PORTRAITS 3

PLATE 1 (ABOVE) AND PLATE 2 (BELOW). Photographs by Tracy Dorr.
PLATE 3. Photograph by Tracy Dorr.

PLATE 6. Photograph by Tracy Dorr. PLATE 7. Photograph by Tracy Dorr. PLATE 8. Photograph by Tracy Dorr.

6 500 POSES FOR PHOTOGRAPHING GROUP PORTRAITS
PLATE 10 (TOP LEFT).
Photograph by Tracy Dorr.
PLATE 11 (CENTER LEFT).
PLATE 12 (BOTTOM LEFT).
PLATE 14. Photograph by Marc Weisberg.

PLATE 17 (TOP RIGHT).
Photograph by Marc Weisberg.
PLATE 18 (BOTTOM RIGHT).

PLATE 21 (TOP LEFT). Photograph by Ellie Vayo.
PLATE 22 (BOTTOM LEFT). Photograph by Ellie Vayo.

PLATE 26. Photograph by Mimika Cooney. PLATE 27. Photograph by Mimika Cooney.

Photograph by Mimika Cooney.
PLATE 33. Photograph by Ellie Vayo.

PLATE 34. Photograph by Christie Mumm.

Photograph by Ellie Vayo.

PLATE 45 (TOP RIGHT). Photograph by Ellie Vayo.
PLATE 46 (BOTTOM RIGHT). Photograph by Marc Weisberg.

PLATE 52 (CENTER RIGHT).

PLATE 56. Photograph by Doug Box.
Photograph by Doug Box.

PLATE 74. Photograph by Tracy Dorr. PLATE 75. Photograph by Tracy Dorr.

PLATE 83. Photograph by Ryan Klos.

Photograph by Jennifer George.
PLATE 87. Photograph by Jennifer George.

PLATE 89. Photograph by Jennifer George. PLATE 90. Photograph by Jennifer George.

PLATE 96 (LEFT). Photograph by Jennifer George.
PLATE 97 (ABOVE). Photograph by Jennifer George.

PLATE 100 (TOP RIGHT). Photograph by Jennifer George.
PLATE 101 (BOTTOM RIGHT). Photograph by Tracy Dorr.

PLATE 108. Photograph by Jennifer George. PLATE 109. Photograph by Jennifer George. PLATE 110. Photograph by Jennifer George.

PLATE 114. Photograph by Regeti’s Photography.

Photograph by Regeti’s Photography.
PLATE 125. Photograph by Damon Tucci.

Photograph by James Williams.

PLATE 135 (TOP).
PLATE 136 (ABOVE).
PLATE 137 (RIGHT).

PLATE 139. Photograph by Jennifer George. PLATE 140. Photograph by Krista Smith. PLATE 141. Photograph by Krista Smith.

Photograph by Krista Smith.
PLATE 146. Photograph by Krista Smith.

PLATE 148.
Photograph
by Jennifer
George.

PLATE 156 (BOTTOM LEFT). Photograph by Ryan Klos.

Photograph by Brett Florens.
Photograph by Alyn Stafford.
PLATE 160. Photograph by Brett Florens.
PLATE 161. Photograph by Alyn Stafford.

PLATE 162. Photograph by
Regeti’s Photography.
PLATE 163. Photograph by
Regeti’s Photography.

PLATE 167
(FAR LEFT).
Photograph
by Regeti’s
Photography.
PLATE 168
(LEFT).
Photograph
by Regeti’s
Photography.
PLATE 169
(FAR LEFT).
Photograph
by Regeti’s
Photography.
PLATE 170
(LEFT).
Photograph
by Regeti’s
Photography.

PLATE 176.
Photograph
by Christie
Mumm.
PLATE 177. Photograph by Christie Mumm. PLATE 178. Photograph by Christie Mumm.

Photograph by Christie Mumm.

PLATE 190.
Photograph
by Hernan
Rodriguez.
PLATE 191. Photograph by Alyn Stafford. PLATE 192. Photograph by Alyn Stafford.
PLATE 193. Photograph by Alyn Stafford. PLATE 194. Photograph by Alyn Stafford.

Photograph by Neil van Niekerk.

PLATE 213. Photograph by Doug Box. PLATE 214. Photograph by Doug Box.

PLATE 223 (RIGHT).
Photograph by Allison Earnest.
PLATE 224 (BELOW).

PLATE 225.
Photograph
by Brett
Florens.

PLATE 240.
Photograph
by Jennifer
George.

PLATE 250. Photograph
by Allison Earnest.

PLATE 265.
Photograph
by Christie
Mumm.

PLATE 278 (TOP LEFT). Photograph by Krista Smith.

PLATE 284 (TOP RIGHT). Photograph by Krista Smith.
PLATE 285 (BOTTOM RIGHT). Photograph by Krista Smith.

PLATE 286.
Photograph
by Krista
Smith.
PLATE 287. Photograph by Krista Smith. PLATE 288. Photograph by Krista Smith.

PLATE 296. Photograph by James Williams.
PLATE 299 (TOP LEFT). Photograph by Krista Smith.
Photograph by James Williams.

PLATE 302. Photograph by Mimika Cooney.
PLATE 303. Photograph by Mimika Cooney.

PLATE 322. Photograph by Jennifer George. PLATE 323. Photograph by Jennifer George. PLATE 324. Photograph by Jennifer George.

Photograph by Ryan Klos.
Photograph by Ryan Klos.

Photograph by Marcus Weisberg.

PLATE 341. Photograph by Allison Earnest. PLATE 342. Photograph by Allison Earnest.
PLATE 343. Photograph by Christie Mumm. PLATE 344. Photograph by Krista Smith.
PLATE 340.
Photograph
by Christie
Mumm.

Photograph by Hernan Rodriguez.
Photograph by Hernan Rodriguez.
PLATE 347. Photograph by Hernan Rodriguez.
PLATE 348. Photograph by Hernan Rodriguez.

Photograph by James WIlliams.

PLATE 368.
Photograph
by Brett
Florens.
PLATE 364. Photograph by Brett Florens. PLATE 365. Photograph by Brett Florens.

PLATE 369.
Photograph by
Brett Florens.

PLATE 383.
Photograph
by Neal
Urban.
PLATE 384. Photograph by Alyn Stafford. PLATE 385. Photograph by Brett Florens.
PLATE 386. Photograph by Alyn Stafford. PLATE 387. Photograph by Damon Tucci.

PLATE 389. Photograph by Ryan Klos. PLATE 390. Photograph by Krista Smith.
PLATE 388.
Photograph
by Neal
Urban.

PLATE 401 (ABOVE) AND PLATE 402 (BELOW). Photographs by Marc Weisberg.

Photograph by Damon Tucci.

PLATE 408.
Photograph
by Brett
Florens.
PLATE 409. Photograph by Brett Florens. PLATE 410. Photograph by Neil van Niekerk.

PLATE 413. Photograph by Neal Urban.

PLATE 415.
Photograph
by Brett
Florens.
PLATE 418. Photograph by Doug Box. PLATE 419. Photograph by Jennifer George.

PLATE 421. Photograph by Jennifer George. PLATE 422. Photograph by Krista Smith.
PLATE 423. Photograph by Jennifer George. PLATE 424. Photograph by Krista Smith.

PLATE 427.
Photograph
by Brett
Florens.

PLATE 432.
Photograph
by Neil van
Niekerk.
PLATE 433. Photograph by Damon Tucci. PLATE 434. Photograph by Alyn Stafford.
PLATE 435. Photograph by Alyn Stafford. PLATE 436. Photograph by Neil van Niekerk.

PLATE 444 (ABOVE).

PLATE 446
(TOP LEFT).
Photograph by
Tracy Dorr.
PLATE 447
(TOP RIGHT).
Photograph by
Brett Florens.
PLATE 448
(LEFT).
Photograph by
Brett Florens.

PLATE 449. Photograph by Allison Earnest.

PLATE 452. Photograph by Damon Tucci. PLATE 453. Photograph by Neil van Niekerk.
PLATE 451.
Photograph
by Neal
Urban.

PLATE 457. Photograph by Neil van Niekerk.

PLATE 459. Photograph by Neil van Niekerk.

PLATE 460.
Photograph
by Allison
Earnest.
PLATE 461. Photograph by Allison Earnest. PLATE 462. Photograph by Tracy Dorr.
PLATE 463. Photograph by James Williams. PLATE 464. Photograph by James Williams.

PLATE 468.
Photograph
by Alyn
Stafford.

PLATE 479. Photograph by Brett Florens. PLATE 480. Photograph by Allison Earnest.
PLATE 478.
Photograph
by Brett
Florens.

PLATE 486. Photograph by Tracy Dorr. PLATE 487. Photograph by Neal Urban.

PLATE 492. Photograph by Damon Tucci. PLATE 493. Photograph by Ellie Vayo.
PLATE 491.
Photograph
by Brett
Florens.

PLATE 495.
Photograph
by Neil van
Niekerk.
PLATE 496. Photograph by Brett Florens. PLATE 497. Photograph by Tracy Dorr.
PLATE 498. Photograph by Damon Tucci. PLATE 499. Photograph by James WIlliams.

PLATE 501. Photograph by Tracy Dorr. PLATE 502. Photograph by James Williams.
PLATE 500.
Photograph
by Tracy
Dorr.

PLATE 507.
Photograph
by Alyn
Stafford.

PLATE 512. Photograph by Neil van Niekerk. PLATE 513. Photograph by Neil van Niekerk.
PLATE 514. Photograph by Alyn Stafford. PLATE 515. Photograph by Tracy Dorr.
PLATE 516.
Photograph by
Brett Florens.

PLATE 518. Photograph by James Williams. PLATE 519. Photograph by Doug Box.
PLATE 517.
Photograph
by Brett
Florens.

PLATE 522. Photograph by Doug Box. PLATE 523. Photograph by Neal Urban.
PLATE 524.
Photograph by
Neal Urban.

APPENDIX
Posing Fundamentals
This section covers the fundamental rules of traditional
posing—techniques that are illustrated in many of the
images that appear in this book. While these rules are often
intentionally broken by contemporary photographers, most
are cornerstones for presenting the human form in a flattering
way.
FACIAL VIEWS
In group portraits, the facial views of the subjects may be
identical or mixed. In portraits with a larger number of
subjects, controlling the fine nuances of the facial views
becomes less critical simply because the individual faces
become smaller in the frame. For small groups, particularly
in shorter portrait lengths, the facial view should be more
carefully selected and controlled.
Full-Face View. In a full-face view, the subject’s nose is
pointed directly at the camera for a very symmetrical look.
Seven-Eighths View. For this type of portrait, the subject’s
face is turned slightly away from the camera, but both ears are
still visible.
Three-Quarters or Two-Thirds View. In these portraits,
the subject’s face is angled enough that the far ear is hidden
from the camera’s view. In this pose, the far eye may appear
slightly smaller because it is farther away from the camera
than the other eye. The head should not be turned so far that
the tip of the nose extends past the line of the cheek or that
the bridge of the nose obscures the far eye.
Profile View. To create a profile, the subject’s head is
turned 90 degrees to the camera so that only one eye is visible.
THE SHOULDERS
Traditionally, the subject’s shoulders are best posed at an
angle to the camera. This is because having the shoulders face
the camera directly makes the person look wider than he or
she really is and can yield a static composition.
In larger group portraits, angling the shoulders to the
camera helps subjects be positioned in closer proximity.
Turning all of the subjects toward the center of the frame also
helps contain the composition, drawing the viewer’s eye into
the group.
THE HEAD
Tilting the Head. Tilting the head slightly produces diagonal
lines that help poses feel more dynamic. This is another nuance
of posing that will be more important (and more feasible to
achieve) in small group portraits than in larger groupings.
Eyes. In almost all portraits, the eyes are the most important
part of the face. If the eyes will be very visible (as in a small
group portrait shot in a head-and-shoulders length), strive to
have the eyelids border the iris. Turning the face slightly away
from the camera and directing the subject’s eyes back toward
the camera reveals more of the white of the eye, making the
eyes look larger.
In larger group portraits, the objective will be to ensure
the subjects’ eyes are all open, directed at the camera (in most
cases), and in focus.
Angling the shoulders in toward the center of the frame helps contain
the composition. Photograph by Tracy Dorr.

ARMS
The subjects’ arms should not be allowed to hang at their
sides. Simply bending the elbows creates appealing diagonal
lines in your composition—and placing these lines carefully
can help direct the viewer to each subject’s face. Having
subjects put their hands in their pockets or rest them on their
hips immediately produces this effect.
HANDS
Especially in large groups, the number of hands can seem
overwhelming when viewed in the final composition. If
the hands can’t be posed in a way that looks natural and
unobtrusive, consider hiding them. Hands can be tucked
into pockets, obscured behind other subjects, or even hidden
behind bouquets (as in bridal-party portraits).
LEGS
Whether the subjects are standing or seated, the legs look best
when they are posed independently rather than identically.
This is especially the case in full-length portraits of small
groups. In larger groups, it is less of a concern.
BUILDING GROUPS
The easiest way to approach building a group-portrait pose is
to identify one or two key people to serve as the anchors. In
a family portrait, this might be the parents or, for newborn
sessions, the baby. In wedding images, the core could be
the bride, the groom, or the couple together. In business
portraits, the head of the company or department would
likely be the core subject. The other people in the portrait
can then be arranged around this core.
When positioning subjects, it is best to avoid placing the
subjects’ faces in a straight line across the frame. Instead,
differ the head heights by combining standing subjects with
seated and/or kneeling subjects. It can also be helpful to
look for posing aids in your environment. Staircases, ledges,
benches, and even sloped terrains can be extremely helpful
when designing group poses.
In most cases, you should strive to keep the faces in the
group roughly equidistant. Large gaps or uneven placement
tend to destroy the look of unity in the group—and if one
subject is physically distant from the others, he or she may
look like the black sheep of the group. One exception to this
would be when intentionally defining the nuclear families
within an extended family portrait; in this case, subtle spaces
between the subgroups can help define the makeup of the
family. Another good reason for uneven spacing would be to
emphasize one member of the group. For example, a bride
might be posed at a distance from a group of bridesmaids to
emphasize her prominence in the event.
Notice how the pose of the subjects’ arms unites them and creates a
line that draws your eye into the frame. Photograph by Marc Weisberg.
Even spacing creates a unified look (top). Leaving some space around
the bride and groom puts the emphasis on them (bottom). Photographs
by Brett Florens.

The Photographers
Doug Box—www.dougbox.com
Doug is a member of the Camera Crafts-men
of America and the author of several
books, including Doug Box’s Available
Light Photography and Doug Box’s Flash
Photography (Amherst Media®). He is the
owner of Texas Photographic Workshops,
an internationally recognized educational facility where he
hosts photog raphers from around the country, teaching all
levels of photography. For more information on Doug, go to
www.texasphotographicworkshops.com. From there, you can
sign up for his free e-newsletter and browse through lots of
free information.
Mimika Cooney
www.mimikacooney.com
Mimika Cooney is an award-winning
photographer with a maternity, baby,
and glamour portrait studio in Charlotte,
NC. Born in South Africa, Mimika re-ceived
her photographic training in Eng-land
and is an accredited licentiate by the British Institute of
Professional Photographers and the Society of Wedding and
Portrait Photographers. Mimika is the author of Boutique
Baby Photography: The Digital Photographer’s Guide to Success
in Maternity and Baby Portraiture (Amherst Media®).
Tracy Dorr
www.tracydorrphotography.com
Tracy Dorr is the author of Advanced
Wedding Photojournalism: Professional
Tech niques for Digital Photographers, En-gagement
Portraiture: Master Techniques
for Digital Photographers, and a forth-coming
book on props for portrait photography (all from
Amherst Media®). She holds a BA in English/Photography
from the State University of New York at Buffalo and won
three Awards of Excellence from WPPI. She was a Master
Class teacher at the WPPI convention in Las Vegas and has
contributed to several other books in the 500 Poses series by
Michelle Perkins (Amherst Media®).
Allison Earnest
www.allisonearnestphotography.com
Allison is a Pro Contributor for Lexar Media
and writes articles for PPA Magazine.
She holds a BS in Business Management
from the University of Maryland and
currently teaches her Sculpting with
Light® lighting techniques at universities and lighting work-shops
throughout the United States. She is the author of
Sculpting with Light®: Techniques for Portrait Photographers,
The Digital Photographer’s Guide to Light Modifiers: Techniques
for Sculpting with Light® and Lighting for Product Photography
(Amherst Media®).
Brett Florens—www.brettflorens.com
Brett’s devotion to photography has taken
him from photojournalism in his native
South Africa to a highly successful career
in wedding, commercial, and fashion
photography. He has received numerous
accolades along the way, the most recent of
which was Nikon recognizing him as one of the world’s most
influential photographers. Brett frequently travels from South
Africa to Europe, Australia, and the United States to photograph
the weddings of his discerning, high-end clients. He is the author
of Brett Florens’ Guide to Photographing Weddings and 75 Bridal
Portraits by Brett Florens (Amherst Media®).
Jennifer George
www.jennifergeorgephotography.com
Jennifer George has gained a national rep-utation
for her intimate, stylish portraits,
winning numerous national awards. She
teaches photography as a guest lecturer
at colleges and workshops in the Unit-ed
States and abroad and has been featured in Professional
Photographer, Rangefinder, and Shutterbug. Her commercial
work has appeared in Forbes, Ranch & Coast, and American
Photo. She is the author of The Digital Photographer’s Guide to
Natural-Light Family Portraits and Photographing the Child
(Amherst Media®).

Ryan Klos—www.ryanklos.com
Ryan Klos is a photographer and writer
whose career has taken him down a
winding creative path working as a graphic
designer, photographer, and writer. He
has written for Rangefinder magazine,
WBEZ Chicago Public Radio (NPR), the
Lightroom-centric blog X= (www.x-equals.com/blog), and
many other publications. He currently runs his own studio,
Ryan Klos Photography, which specializes in senior portraits.
Ryan lives in Woodstock, IL, with his wife, Monica, and two
boys. He is the author of Backdrops and Backgrounds: A
Portrait Photographer’s Guide (Amherst Media®).
Christie Mumm
www.jlmcreative.com
Christie Mumm is the owner of JLM
Creative Photography, a small boutique
studio in downtown Reno, NV, where
she works closely with families to capture
lasting memories through lifestyle pho-tography.
She has been married to her best friend for over ten
years and is the mother of one precocious and creative young
daughter. Christie is also the author of Family Photography:
The Digital Photographer’s Guide to Building a Business on
Relationships (Amherst Media®).
Srinu and Amy Regeti—www.regetisphotography.com
The Regetis are internationally recognized for their skill in
telling stories through photography. As a talented husband
and wife team, they are also well known in the photography
industry as motivational speakers. Their work has been
featured in such magazines as Grace Ormonde, Rangefinder,
Engaged!, and Virginia Bride, as well as on ABC’s Nightline.
The Regetis operate a full-service studio located in the quaint
historic town of Warrenton, VA, in the rolling hills outside of
Washington, DC. They are the co-authors of a forthcoming
book on portrait photography from Amherst Media®.
Hernan Rodriguez
www.hernanphotography.com
The recipient of numerous international
photography awards, Hernan Rodriguez
operates a successful studio in the heart of
Los Angeles’ San Fernando Valley. There,
he juggles a steady roster of commercial,
product, and celebrity photography, along with portraiture
for families, children, and high-school seniors. He has art
directed and photographed campaigns for Guess Clothing,
Tanline CA, Comfort Zone, and Corona. He has also been
featured in Rangefinder, Studio Photography, and Photoshop
User magazines. Hernan is the author of 75 Portraits by
Hernan Rodriguez, also from Amherst Media®.
Krista Smith—www.saltykissesphotography.com
Krista Smith specializes in beautiful beach portraits for
maternity, engagements, children, and families big or small.
Krista has three small children and knows exactly how
to approach kids of all temperaments, from shy darlings
to rambunctious balls of energy. She takes the time to
get to know each family and what they want so that their
portraits are never stiff, boring photos of people who look
uncomfortable. Her passion for fun, unscripted portraits
comes from the frustration of seeing her own family portraits
lack the energy and fun she felt they needed, so she is truly
dedicated to getting the perfect portrait for all her clients. She
is the author of a forthcoming book on natural-light portrait
photography from Amherst Media®.
Alyn Stafford
www.alynstaffordphotography.com
Alyn Stafford is a portrait and commercial
photographer in Riverside, CA. He holds
a degree in Communication Arts from
the University of Southern California
and worked as Art and Creative Director
for national advertising agencies handling clients like Sony,
United Airlines, and Airliance—as well as serving as photo
editor for Aviation Lifestyles Magazine. Alyn teaches in the
Visual Communications department of ITT-Tech and runs
two blogs (www.digitalsparkle.com and www.alynstafford.com)
where he shares his photographic knowledge. He’s the author
of Flash Techniques for Location Portraiture (Amherst Media®).
Damon Tucci
www.damontucci.com
Damon Tucci began his career as an
underwater cinematographer and later
worked as a photographer for Disney
Photographic Services. It was at Disney
that he crafted his unique approach to
wedding photography, which features a mix of documentary-

style photography and stylized fashion shots. Damon firmly
believes that if you don’t enjoy what you do, you should do
something else. He is the author of Step-by-Step Wedding
Photography and the co-author of Tucci and Usmani’s The
Business of Photography (Amherst Media®).
Neal Urban—www.nealurban.com
Neal Urban is a wedding photographer based in Buffalo, NY,
who shoots events across the country. He is especially well-known
for his use of HDR techniques to create breathtaking
images of brides and grooms in unique locations, both
indoors and out. Neal recently won four Accolades of
Excellence Awards from WPPI and was the 2011 winner of
PDN’s Top Knot’s People’s Choice Award. His work has
been featured in Rangefinder magazine and Cosmopolitan
Bride (Chinese edition). Additionally, he is at work on a book
about his wedding photography techniques (forthcoming
from Amherst Media®).
Neil van Niekerk—www.neilvn.com
Neil van Niekerk, originally from Johan-nesburg,
South Africa, is a wedding and
portrait photographer based in northern
New Jersey. His “Tangents” blog (www.
neilvn.com/tangents) has become a pop-ular
destination for photographers seek-ing
information on the latest equipment and techniques. He
is also the author of On-Camera Flash Techniques for Digital
Wedding and Portrait Photography, Off-Camera Flash Tech-niques
for Digital Photographers, and Direction & Quality of
Light (all from Amherst Media®).
Ellie Vayo—www.ellievayo.com
Ellie Vayo Photography, Inc. was found-ed
over thirty years ago in Mentor, OH,
and has grown into one of the most suc-cessful
portrait studios in the country.
Ellie holds Master and Craftsman degrees
as well as PPA and API certifications and
has won numerous awards for both photography and mar-keting
from such prestigious organizations as PPA and Se-nior
Photographers International. Her senior portraiture has
also been featured in Rangefinder, Studio Design, Lens, and
Professional Photographer. She is the author of The Art and
Business of High School Senior Portrait Photography, now in its
second edition, and Ellie Vayo’s Guide to Boudoir Photography
(both from Amherst Media®).
Marc Weisberg—www.marcweisberg.com
Marc Weisberg operates a boutique studio in California,
specializing in magazine -style portraits of newborns, children,
and families. Marc teaches photography and marketing
both privately and as a guest lecturer at local colleges. He
taught a Master Class in marketing at the WPPI convention
in Las Vegas and has spoken on wedding photography and
marketing at the Professional Photographers of California
convention in Pasadena. Additionally, he was a featured
speaker at the Pictage Partner-Con meetings in Los Angeles
and New Orleans. Marc has won over a dozen national and
international awards from WPPI and PPA. His photography
has been featured in Rangefinder magazine as well as in more
than a dozen books by Amherst Media®—including The Best
of Wedding Photography and The Best of Photographic Lighting
by Bill Hurter, and 500 Poses for Photographing Women and
500 Poses for Photographing Brides by Michelle Perkins.
James Williams
www.jameswilliams
photography.com
James Williams is certified through the
PPA and, in 2004, earned the Accolade
of Photographic Mastery from WPPI.
In 2005, he earned a Craftsman degree
from PPA and the Accolade of Outstanding Photographic
Achievement from WPPI. He regularly teaches at photog-raphy
organizations’ events and hosts seminars at his studio.
He is the author of How to Create a High-Profit Photography
Business in Any Market, 2nd edition, and Master Guide for
Team Sports Photography (both from Amherst Media®).

DON GIANNATTI’S Guide to Professional
Photography
Perfect your portfolio and get work in the fashion,
food, beauty, or editorial markets. Contains
insight and images from top pros. $39.95 list,
7.5x10, 160p, 220 color images, order no. 1971.
Master Posing Guide for Portrait
Photographers, 2nd Ed.
JD Wacker’s must-have posing book has been
fully updated. You’ll learn fail-safe techniques for
posing men, women, kids, and groups. $39.95
list, 7.5x10, 160p, 220 color images, order no.
1972.
Painting with Light
Eric Curry shows you how to identify optimal
scenes and subjects and choose the best light-painting
sources for the shape and texture of the
surface you’re lighting. $39.95 list, 7.5x10, 160p,
275 color images, index, order no. 1968.
Christopher Grey’s Posing,
Composition, and Cropping
Make optimal image design choices to produce
photographs that flatter your subjects and meet
clients’ needs. $39.95 list, 7.5x10, 160p, 330
color images, index, order no. 1969.
LED Lighting: PROFESSIONAL TECHNIQUES FOR
DIGITAL PHOTOGRAPHERS
Kirk Tuck’s comprehensive look at LED lighting
reveals the ins-and-outs of the technology and
shows how to put it to great use. $34.95 list,
Nikon® Speedlight® Handbook
Stephanie Zettl gets down and dirty with this
dynamic lighting system, showing you how to
maximize your results in the studio or on location.
$34.95 list, 7.5x10, 160p, 300 color images,
order no. 1959.
Step-by-Step Posing
for Portrait Photography
Jeff Smith provides easy-to-digest, heavily
illustrated posing lessons designed to speed
learning and maximize success. $34.95 list,
Lighting Essentials
LIGHTING FOR TEXTURE, CONTRAST, AND DIMENSION
Don Giannatti explores lighting to define shape,
conceal or emphasize texture, and enhance the
feeling of a third dimension. $34.95 list, 7.5x10,
160p, 220 color images, order no. 1961.
OTHER BOOKS FROM
Amherst Media®
Other Books in This Series . . .
500 Poses for
Photographing Women
Michelle Perkins compiles an array of striking
poses, from head-and-shoulders to full-length,
for classic and modern images. $34.95 list,
8.5x11, 128p, 500 color images, order no.
1879.
500 Poses for
Photographing Brides
Michelle Perkins showcases an array of head-and-
shoulders, three-quarter, full-length, and
seated and standing poses to showcase the
bride and her attire. $34.95 list, 8.5x11, 128p,
500 color images, index, order no. 1909.
500 Poses for
Photographing Men
Michelle Perkins showcases an array of head-and-
shoulders, three-quarter, full-length, and
seated and standing poses that make guys
look great. $34.95 list, 8.5x11, 128p, 500
color images, order no. 1934.
500 Poses for
Photographing Couples
Michelle Perkins showcases an array of poses
that will give you the creative boost you need
to create an evocative, meaningful portrait.
$34.95 list, 8.5x11, 128p, 500 color images,
order no. 1943.
500 Poses for Photographing
High School Seniors
Michelle Perkins presents head-and-shoulders,
three-quarter, and full-length poses tailored
to seniors’ eclectic tastes. $34.95 list, 8.5x11,
128p, 500 color images, order no. 1957.
Uploaded by [StormRG]

Filled with images by some of the world’s most accom-plished
wedding, portrait, fashion, and editorial pho-tographers,
this book is a resource for all photographers
seeking inspiration. Stuck on what to do with a particular
group or unsure how to use a given location? Flip through
the sample portraits, pick something you like, then adapt
it as needed to suit your tastes. Looking to freshen up your
$39.95 USA
$43.95 Canada
#1980
GET THE CREATIVE SPARK YOU NEED
TO DESIGN BETTER POSES AND SPICE UP YOUR PORTRAITS
Amherst Media®
PUBLISHER OF PHOTOGRAPHY BOOKS
PO Box 586, Buffalo, NY 14226
www.AmherstMedia.com
photography with some new poses? Find a sample that appeals to
you and look for ways to implement it (or some element of it) with
one of your groups. It can be difficult to remain creative day after
day, year after year, but sometimes all you need to break through a
slump is a little spark. In this book, you’ll find a plethora of images
designed to provide just that.
FEATURES:
Inspirational ideas for studio and location portraits
Head-and-shoulders, waist-up, three-quarter, and full-length poses
Examples of classic, casual, and editorial posing styles
Inventive groupings for more compelling portrait designs
INCLUDES IMAGES BY:
Doug Box
Mimika Cooney
Tracy Dorr
Allison Earnest
Brett Florens
Jennifer George
Ryan Klos
Christie Mumm
Srinu & Amy Regeti
Hernan Rodriguez
Krista Smith
Alyn Stafford
Damon Tucci
Neal Urban
James Williams
Neil van Niekerk
Ellie Vayo
Marc Weisberg
~StormRG~

500 poses for photographing group portraits

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500 poses for photographing group portraits